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DISCID=9e0a0c0a
DTITLE=Dan Fogelberg / Phoenix
DYEAR=1979
DGENRE=Folk/Rock
TTITLE0=Tullamore Dew
TTITLE1=Phoenix
TTITLE2=Gypsy Wind
TTITLE3=The Last To Know
TTITLE4=Face The Fire
TTITLE5=Wishing On The Moon
TTITLE6=Heart Hotels
TTITLE7=Longer
TTITLE8=Beggar's Game
TTITLE9=Along The Road
EXTD=Originally Released 1979\nCD Edition Released February 1984\n\nAM
EXTD=G EXPERT REVIEW: AMG EXPERT REVIEW: His first solo album since 19
EXTD=77's Netherlands, Phoenix was a fine effort but one that didn't a
EXTD=dd any new twists to Fogelberg's ever-expanding vision apparent u
EXTD=p till then on one album after another. The album paled somewhat 
EXTD=in comparison to Fogelberg's previous efforts and didn't do much 
EXTD=to expand his audience. On the other hand, it certainly didn't di
EXTD=ssuade many from continuing to support him through buying his rec
EXTD=ords and seeing him play live, both of which contributed to his r
EXTD=eceiving extensive airplay. "Longer" is perhaps the best track on
EXTD= the album and quickly became a live favorite. The title cut prov
EXTD=ed again that Fogelberg could rock, and as punk and new wave bega
EXTD=n creeping into the mainstream, Fogelberg appeared to be one arti
EXTD=st who would not fade away as tastes changed. -- Steve Matteo\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nA flawed, but worthwhile album from
EXTD= an ambitious artist, September 22, 2004\nReviewer: Dave "missing
EXTD= person" (United States)\nOver the course of Dan Fogelberg's care
EXTD=er, he has demonstrated that he is an extremely talented artist. 
EXTD=He had a lot of capability and was quite ambitious, & he aimed hi
EXTD=gh, & this resulted in a very mixed output, but there are many fa
EXTD=ntastic songs to be found. His sixth album (including the "duet" 
EXTD=album with Tim Weisberg, "Twin Sons of Different Mothers"), "Phoe
EXTD=nix", was released in November of 1979, & it's a strong introduct
EXTD=ion to his work -- although his weaknesses are in evidence, they 
EXTD=are far outweighed by his strengths. He handles all of the lead &
EXTD= background vocals on the album, all of the guitars (aside from "
EXTD=Face the Fire", which presumably features Joe Walsh on slide, tho
EXTD=ugh the credits don't flat out say so) & nearly all of the keyboa
EXTD=rds as well, & he wrote all the songs himself & also served as th
EXTD=e primary producer -- all that said, Fogelberg is running the sho
EXTD=w in a big way. \n\nOver the years he has displayed a taste for h
EXTD=aving brief (minute & a half or so) instrumental album openers, a
EXTD= tactic he got excellent mileage out of here with the outstanding
EXTD= "Tullamore Dew", featuring a haunting guitar melody which is pun
EXTD=ctuated by light, but very effective use of phasing, as well as a
EXTD=tmospheric synthesizer & percussion. It also serves as a terrific
EXTD= prelude to the exciting, driving title track, with masterful, th
EXTD=ick layers of guitar -- lyrically, it's about breaking free from 
EXTD=one's troubles, "getting out there", & being yourself, & despite 
EXTD=their simplicity, he sings them passionately & convicingly. \n\n"
EXTD=Gypsy Wind" & "The Last To Know" are both nice, tuneful, somewhat
EXTD= country-fied ballads, although the former highlights him slippin
EXTD=g into the annoying vocal inflections that at times get in the wa
EXTD=y (the way he sings the line "It's only when you listen that you 
EXTD=learn" is a perfect example). ("The Last To Know", at 2:27, just 
EXTD=after the guitar solo, is entirely reminiscent of the Doobie Brot
EXTD=hers/ Carly Simon tune "You Belong To Me".) \n\n"Face the Fire" f
EXTD=eatures very direct, angry lyrics regarding the fears/ dangers of
EXTD= nuclear energy, and the tune ends up being kind of a drag -- it 
EXTD=exhaustingly beats the simple, endlessly repeated riff into the g
EXTD=round, & the chorus feels badly forced, though the extended guita
EXTD=r soloing that ends the song is engaging. On the other hand, "Wis
EXTD=hing On The Moon" is a solidly enjoyable, melodic mid-tempo rocke
EXTD=r (the half-baked chorus leaves a bit to be desired though), & fe
EXTD=atures a cool, riffy instrumental break. \n\nA pair of hit single
EXTD=s are placed side-by-side. I'm not going to say "Longer" is a sap
EXTD=-free ballad--it certainly isn't, but it's not EXCRUCIATINGLY sap
EXTD=py, & it's pretty, & also relatively stripped down (though there 
EXTD=are a couple of slightly, yet gratingly, off-key notes in the har
EXTD=mony vocals). Even better though is the outstanding "Heart Hotels
EXTD=" -- a lyrically clever song about romantic desperation, it start
EXTD=s out with bright, rich piano chords shaded with electric piano (
EXTD=played in unison), before morphing into an irresistibly bouncy so
EXTD=ng, additionally graced with an effective lyricon solo. However, 
EXTD="Beggars Game", is a solid example of Fogelberg aiming high & not
EXTD= being able to carry out his ambitions in a fully satisfying mann
EXTD=er. It's a minor-keyed story song about a man who falls prey to a
EXTD= seductive woman -- the guy expresses his realization that he's a
EXTD=nother "fool" to fall for her, but a blink of an eye later, the m
EXTD=usic swells & switches to a major key for what's supposedly the c
EXTD=horus (though it doesn't feel like a chorus), & the "chains fall 
EXTD=free" -- then there's an instrumental break, after which Fogelber
EXTD=g, seemingly out of steam, goes back & repeats the first verse & 
EXTD=the chorus again. It's painfully anti-climactic, & the verses are
EXTD= additionally marred by the annoyingly melodramatic vocals, despi
EXTD=te the strong melody. He does end the album in fine fashion with 
EXTD=the melodic ballad "Along The Road" (which reprises the "Tullamor
EXTD=e Dew" sound, & features a refreshingly mellow vocal). \n\nIn the
EXTD= end, the album really does strongly capture of essence of Dan Fo
EXTD=gelberg, warts and all -- the excellent tracks that are here, & t
EXTD=he fact that the album is consistently strong overall, make it wo
EXTD=rth checking out, & it's also a good place to start if you're new
EXTD= to him/ curious about him.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSome
EXTD=thing to Displease Everyone, August 29, 2001\nReviewer: Eric R. L
EXTD=ast "misterrockobscurities" (San Bruno, CA United States)\nI foll
EXTD=owed Fogelberg's career from the debut in '72 though this title i
EXTD=n '80 before finally giving up on him. Every album has a few grea
EXTD=t cuts but for someone more drawn to his rock 'n' roll side, the 
EXTD=drippy ballads and folkish muzak just got to be too much to bear.
EXTD= On this, his sixth album, Fogelberg's stylistic swings reach the
EXTD= breaking point - he rocks harder on the songs "Face the Fire" an
EXTD=d "Phoenix" than he ever has before, but with "Longer" and "Heart
EXTD= Hotels" he lets his sappy romantic side go way overboard as well
EXTD=. Hard to believe a fan of one side of Fogelberg can stomach the 
EXTD=other. I recently burned my own "Best of" CD for Fogelberg - 2 or
EXTD= 3 songs from each of the first 6 albums. Now I'll sell the album
EXTD=s and never miss them a bit.\n\n\nAMAZON.COM CUSTOMER REVIEW\nNot
EXTD= a bad cut on the disk, April 13, 2001\nReviewer: Arthur E. Ragos
EXTD=ta (Santa Clara, Ca USA)\nAnother Fogelburg winner! Second only t
EXTD=o the unbelievable "Innocent Age" in his collection of fine album
EXTD=s.\nEveryone has hear "Longer" on the radio, but I believe both "
EXTD=Beggar's Game" and "Along the Road" are better songs and give you
EXTD= a full appreciation for the artist's talent. He uses non-traditi
EXTD=onal instruments (from a rock standpoint) to present more than ju
EXTD=st a beat to the listener. And for heaven's sake, listen to the l
EXTD=yrics...\n\n'Joy at the start, fear in the journey, joy at the co
EXTD=ming home. A part of the heart gets lost in the learning somewher
EXTD=e along the road.'\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe beginning
EXTD= of phase 2....., October 23, 2000\nReviewer: homefree (Mass)\nAf
EXTD=ter the success of ' Power of Gold' people anxiously awaited Foge
EXTD=lberg's next release. 'Phoenix' released in 1979 did not disappoi
EXTD=nt. Radio jumped on this album, and the top twenty "Heart hotels"
EXTD= and the #2 'Longer' which may be Dan's best known song. This gav
EXTD=e Dan his biggest seller to date, and began the years where more 
EXTD=people knew Fogelberg than did not.\nAs he did on 'Captured Angel
EXTD=' he began with an instrumental. 'Tullamore Dew' is a nice electr
EXTD=ic instrumental that segues into the title track. These two were 
EXTD=staples of Dan's late 70's early 80's concerts. 'Tullamore Dew' w
EXTD=as often stretched into quite a lengthy selection live, and is wo
EXTD=rth tracking down. ' Beggars game' as said by Fogelberg "is about
EXTD= chasing a ballerina around Nashville" It is a standout cut lyric
EXTD=ally, and is still performed by Dan today. 'Face the fire' you ma
EXTD=y remember from the attention it received during the nuclear cris
EXTD=is (no nukes) of 1979. It was also a popular concert favorite for
EXTD= many years.\n\n'Heart hotels' is the lesser of the two hits on t
EXTD=his one. Where 'Longer' is in a sense timeless, 'hotels' does a b
EXTD=etter job of bringing you back to 79 when you hear it. Whether th
EXTD=at is a good thing or bad is up to the listener!\n\nThe album end
EXTD=s with 'Along the road.' From 'Home free' almost 10 years prior e
EXTD=ach album contains a classic Fogelberg song that defines the albu
EXTD=m With 'Along the road' we get a feeling for where Dan has been a
EXTD=nd what he has seen thus far. Where the journey will go from ther
EXTD=e is answered in his next album.\n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=One Of Dan Fogelberg's Best ALbums!, August 28, 2000\nReviewer: B
EXTD=arron Laycock "Labradorman" (Temple, New Hampshire United States)
EXTD=\nThis incredible album helped to propel Dan Fogelberg's populari
EXTD=ty in the late 1970s, and represented an announcement of his arri
EXTD=val as a major figure in the folk-rock pantheon. This was the fol
EXTD=low-up album to a string of successful efforts that started with 
EXTD="Souvenirs' and went on to "Captured Angel" and "Twin Sons Of Dif
EXTD=ferent Mothers", leading up to this instant smash release. All in
EXTD= all, it provides terrific testimony to his talents, and proof po
EXTD=sitive of the incredible talents of one of folk-rock's most under
EXTD=-appreciated artists. From the stirring and dreamy opening instru
EXTD=mental of "Tullamore Dew" to the pulsating segue into the complex
EXTD= and quite accomplished lyrics of "Phoenix" describing Fogelberg'
EXTD=s near submersion in a negative relationship and his rise above i
EXTD=ts pain to recreate himself, this album showcases Dan's wide rang
EXTD=e of songwriting, musical, and arrangement skills.\nOf course, th
EXTD=e album was also helped along to the top of the charts by the inc
EXTD=lusion of the hit single "Longer", which was a number one song. F
EXTD=ogelberg tends to favor a very full "wall of sound" approach to h
EXTD=is music, and sometimes tends to somewhat overproduce arrangement
EXTD=s by having too much going on simultaneously in his works. In thi
EXTD=s case, however, the songs are clear, crisp, and simply terrific,
EXTD= from "Gypsy Wind" to "Last To Know" to a terrific performance of
EXTD= "Face The Fire", Fogelberg's personal contribution to the "No Nu
EXTD=kes" anti-nuclear power movement. My own personal favorites here 
EXTD=are "Face The Fire", with its intricate, amazing, and powerful el
EXTD=ectric guitar arrangement, "Along The Road", a dreamy recolelctio
EXTD=n of life on the run, and "Wishing On The Moon". This is a wonder
EXTD=ful album, folks, and a splendid example of Mr. Fogelberg's consi
EXTD=derable skills and talents. I highly recommend it. Enjoy.\n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nFogelberg Rises Like Phoenix Into 80s R
EXTD=ock Decade, July 22, 2000\nReviewer: Anthony G Pizza "trivialtony
EXTD=" (FL)\n         \nReleased in the closing weeks of the 1970s, Da
EXTD=n Fogelberg's "Phoenix" drew from many of the era's singer-songwr
EXTD=iter themes: acoustic ballads, socially-concious rockers, sensiti
EXTD=ve lyrics, high harmonies from the country-folk rock songbooks of
EXTD= James Taylor, America, John Denver, Poco and others. The Rolling
EXTD= Stone Guide to Rock and Roll accurately described Fogelberg's wo
EXTD=rk then as a "one-man CSN."\nBut if Fogelberg saved his best stor
EXTD=ies for his finest album, 1981's "The Innocent Age," he was at hi
EXTD=s strongest melodically here. Early 1980's wedding standard "Long
EXTD=er" remains a precious melody even with somewhat sappy lyrics ("W
EXTD=e'll fly through the fall and summers with love on our wings...")
EXTD=. "Gypsy Wind" and "The Last To Know" are also well-crafted mid-t
EXTD=empo ballads, "Heart Hotels" a nice pop-jazz, and the haunting gu
EXTD=itar work in "Tullamore Dew" hauntingly prefaces the album. Less 
EXTD=effective is "Beggars Game" and the anti-nuclear rocker "Face The
EXTD= Fire" (this was the year of "No Nukes," remember) with an inappr
EXTD=opriate Fogelberg growl.\n\nHow inconsistent was Fogelberg as a s
EXTD=ongwriter? The title track is apparently half about resurrection,
EXTD= half about revenge. It builds some Eagles-ish country-rock steam
EXTD= and suspense (with some Joe Walsh-ish guitar)before the beat slo
EXTD=ws down at the bridge...the acoustic guitars rise...and Fogelberg
EXTD= makes his grand statement: "I never knew what you wanted/I guess
EXTD= that I never will." Great melody, great arrangement, misguided l
EXTD=yrics. That's why Fogelberg's music would hit the bullseye or mis
EXTD=s the target altogether.\n\nAfter the singer-songwriter movement 
EXTD=faded, Fogelberg enjoyed varying success in the 1980s and 1990s t
EXTD=rying everything from bluegrass to world music styles. The hits f
EXTD=rom "Phoenix" are on his "Greatest Hits" album, making this a sup
EXTD=plemental purchase after "Souvenirs," "Innocent Age," and "Nether
EXTD= Lands."\n\n\nAMAZON.COM CUSTOMER REVIEW\nSong power!, March 12, 
EXTD=2000\nReviewer: The Sanity Inspector (USA)\nNothing brings back t
EXTD=he late '70s like the sound of a Prophet 5 synthesizer and lushly
EXTD= arranged strings and acoustic guitar. Like many hipper-than-thou
EXTD= kids from that time, I sneered at Fogelberg. Nowadays, I can rel
EXTD=ate (pardon the Californianism) to his music better, now that I'v
EXTD=e seen enough of life to know what he's been singing about. "Long
EXTD=er" is an almost-too-sweet ballad, but oh that flugelhorn solo! T
EXTD=races of this song hover throughout, for instance, Eric Clapton's
EXTD= "Wonderful Tonight" and "Tears in Heaven". The title track is my
EXTD= favorite, along with the instrumental introductory track, "Tulla
EXTD=more Dew". (Note: on the cd, there's a cue blip between the two t
EXTD=racks--very mood-breaking.) On "Phoenix", his vocals are still gl
EXTD=assy smooth, but he still manages to generate some real steam. Th
EXTD=is is a fine, classically rocking mememto of the end of the singe
EXTD=r-songwriter era.\n\n\nROLLING STONE REVIEW\nPeople often mock Jo
EXTD=hn Denver for his supermellow, sticky-sweet wholesomeness, yet ha
EXTD=rdly anyone ever picks on Dan Fogelberg, who traffics in the same
EXTD= trite, treacly sentiments that made Denver a pet peeve (and, of 
EXTD=course, several million dollars).\n\n\n\nFogelberg's work not onl
EXTD=y utilizes numberless storybook-romantic platitudes but also ever
EXTD=y laid-back, folk-rock clich that's flitted down the Rocky Mount
EXTD=ains to Southern California. Those cushioned cascades of breathy 
EXTD=backup harmonies, that mournful pedal steel, those pristine EZ-2-
EXTD=Play acoustic-guitar chords, that swishy halo of synthesized orch
EXTD=estration hovering over a quavery lead singer--all sound so pleas
EXTD=antly familiar because they've been heard before on countless rec
EXTD=ords by the Eagles, Poco, America, Bread and Crosby, Stills and N
EXTD=ash. Fogelberg smooshes these various elements together for maxim
EXTD=um recognizability. But even at its prettiest -- and sometimes it
EXTD='s awfully pretty--his music lacks the core of authentic feeling 
EXTD=that makes good icky pop. It's like a copy of a copy of a copy wh
EXTD=ose original image has become a blur.\n\nDan Fogelberg's lyrics a
EXTD=re a sociological phenomena in themselves. They're derived from a
EXTD=nd aimed at a generation raised on Kahlil Gibran and fantasy fict
EXTD=ion. Meaningless strings of words arranged to resemble profunditi
EXTD=es, they rely for substance on the mystical connotations of clich
EXTD=s drawn from damsel-and-dragon tales -- words like primeval, spe
EXTD=ll and quest. Even the album's title, Phoenix, is misappropriated
EXTD= as a fantasy-fiction synonym for survivor.\n\nTake, for example,
EXTD= the chorus of Fogelberg's new single, "Heart Hotels," which goes
EXTD= (in part): "And the voices you hear at the top of the stairs/Are
EXTD= only echoes of unanswered prayers." Why do you suppose those voi
EXTD=ces are at the top of the stairs? Couldn't unanswered prayers jus
EXTD=t as easily -- even meaningfully -- be located in the closet, the
EXTD= bedroom, the mailbox? To Fogelberg, such questions are irrelevan
EXTD=t. "Stairs" and "prayers" are there because they rhyme with "dail
EXTD=y affairs" (in which one is urged to "seek inspiration") and "rep
EXTD=airs" (which one's troubled soul requires).\n\nThat Dan Fogelberg
EXTD= croons tunes about upstairs prayers with the same unwavering sen
EXTD=sitivity and smiley voice as he sings songs about divorce, true l
EXTD=ove and nuclear disaster further proves that he doesn't care what
EXTD= he's saying. So why should we? (RS 317 -- May 15, 1980)  --  DON
EXTD= SHEWEY
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